Opportunity for Artists
Cummings Money for Artists (MFA) has gift certficates to purchase art materials that are being awarded to individual artists in the Washington, DC metro area. The certificates are worth between $50 to $250.
You can apply online at any time, and there are no fees involved. Awards will be made throughout the year. After you submit your application, an example of your work will be posted on the CummingsMFA web site.
Thursday, February 09, 2006
Wanna go to a party tonight?
Tapedude Mark Jenkins has new installations at Club Hell on 18th Street. They're having a party tonight starting at 10PM (no cover).
Details here.
I Saw You
Gallery Neptune has an interesting group show opening this coming Sunday, Feb. 12, 2006 titled "Cupidity."
Cupidity is based in a sense on the "I Saw You Ads" in the newspapers. Each invited artist created a piece inspired by an ad and then a writer wrote a news ad involving the piece.
The Cupidity artist/writer teams are:
Albert Schweitzer / Katherine Thompson
Alexandra Silverthorne / Heidi Mordhorst
Anna Edholm Davis / Susan Leonardi
Dana Ellyn Kaufman / Charlie Barnett
David Wallace / Mary Kay Zuravleff
Ed Bisese / Levi Asher
Elaine Langerman / Caryn Thurman
Glenn Friedel / Patrick Holway
Greg Ferrand / Bob Angell
Helga Thomson / Rebecca Pope
Jean Beebe / Dennis Greza
Kim Bentley / Katie McCaskey
Kirk Waldroff / Dorian Hamilton
Matt Sesow / Doreen Peri
Mike Janis / Claudia Rousseau
Scott Brooks / Frank Warren
Warren Craghead / Roger Noyes
Wanna go to an opening tonight?
The District of Columbia Arts Center (DCAC) hosts the opening for Crafts & Kisses tonight from 7-10PM.
Also this coming Sunday is the final chapter of their four part panel series "Who Do You Love?" This one will focus on installation and site-specific art. The scheduled panelists are: Mary Coble, Jayme McLellan and Ira Tattelman (and perhaps a couple of surprise guests). The event starts at 7:30 in the theater at DCAC.
Wednesday, February 08, 2006
Frenn Opens Friday
The Fraser Gallery of Bethesda is proud to host the third solo exhibition of acclaimed Lebanese-American painter Chawky Frenn, in conjunction with the publication of a 174 page retrospective book of the artist’s works titled Chawky Frenn: Art for Life’s Sake. 
Art critic Donald Kuspit, one of the most visible art voices of the 21st century, has written that Frenn "constructs a spiritual space in which the contemporary public can feel emotionally at home, however troubling the emotions his imagery evoke in them."
The New York Times wrote that "Chawky Frenn is a painter who has nailed down the figurative mode, and this accomplishment gives him the license to convey anything he wants, including the grand theme: the elusive meaning of human existence."
The Washington Post wrote: "From a classical nude contemplating a human skull to his latest series of still lifes of slaughtered animal carcasses, Frenn is an artist's artist (as opposed to a critic's artist)."
For this upcoming solo show, which opens with a reception for Frenn this coming Friday, February 10, 2006 from 6-9PM, the artist has created a whole new series of paintings depicting his disturbing impressions of the current historical state of affairs of the world, as well as his continuing exploration of classical nudes.
Frenn's works are used to controversy. In 2001, his Boston gallery decided to cancel a Frenn solo show at the last minute as a result of the Sept. 11 attacks.
In 2004, his exhibition at Dartmouth caused an uproar on campus. Frenn, who was exhibiting at the same time at Damien Hirst, managed to outshock Hirst.
I will be clear to admit that this is not an easy artist to exhibit in the DC area. Every single one of his paintings that we've sold over the years has sold to New York or European collectors, althought I am sure that were his work to be exposed to local gutsy collectors (and curators), Frenn would be appreciated (on a local scale) to the same extent that he's being appreciated on a national and international scale.
The exhibition runs through March, 7 2006 and there’s an artist’s talk by Frenn, discussing his new work, on Saturday, February 25, 2006 starting at 1 PM.
Tuesday, February 07, 2006
Shift on Interface
The Japanese magazine Shift has this piece on Interface in their current issue.
Read it here.
Teague on Interface
Innerbias reviews Interface at Fraser Bethesda.
Tomorrow is the last day to see Interface! Read Teague's review here.
Sunday, February 05, 2006
The Fleer Gallery of Art
Brian Beutler has an interesting and original piece in the current Washington City Paper titled "The Fleer Gallery of Art: The Washington City Paper’s first set of collector collector cards. Bubble gum not included."
The first set of cards depict Fred Ognibene, Tony Podesta, Philip Barlow, Juanita & Mel Hardy, and Aaron Levine.
I guess that I am surprised by who's not in the article, as missing are perhaps two or three Ubercollectors with massive collections. One missing couple has, I would guess, around 4,000 pieces of art in their collection.
Brian Beutler: for your next set of cards, email me baby!
Heading South
I'm driving down to Norfolk today, hopefully arriving in time to be able to watch the Pacific Northwest Oceanic Warbirds from the beautiful leftwing nuts city of Seattle destroy the Blue Collar Steel Workers of Pittsburgh.
I'll be back either Monday or Tuesday.
Bailey on Kennicott
The Rev. Bailey opines on the WaPo's Phillip Kennicott's thin logic in Kennicott's Clash Over Cartoons Is a Caricature Of Civilization.
Read it here.
Saturday, February 04, 2006
Cubicle Ten Opening Tonight
Tonight Cubicle Ten is hosting a festive visual experience entitled "Without Formula" at 1827 Sixth Street, NW, Washington, DC.
With this project, Cubicle Ten, has collaborated with MP Development and will turn a newly renovated four unit condo building into a 3,000 square foot art gallery.
Cubicle Ten has selected the following artists to showcase in this exhibition:
Andrew Au, Zoe Charlton, Clark, Billy Colbert, Jeffry Cudlin, Rick Delany, Chris Hoeting, Candace Keegan, David Meyer, Bridget Lambert, Michael Platt, Jefferson Pinder, Jennifer Purdum, Colin Williams, Alex Schuchard, Jonathan Sears, and Trish Tilman.
Opening Reception is tonight, Saturday, Feb. 4, 2006 from 7pm-12:30am - Catering by Local 16 Restaurant. Tel: 202-247-0595.
Wanna go to an opening tomorrow?
Carl Root opens at Glenview Mansion tomorrow, Sunday, Feb. 5, 2006 with an opening reception from 1-4PM.
Wanna go to an opening tonight?
Robert "Rob" Redding author, nationally syndicated radio personality and editor and publisher of the Redding News Review, has a show (titled "Smeared")opening tonight at Warehouse Gallery across from the Washington Convention Center on 7th Street, NW through to Feb. 26, 2006. The artist reception is scheduled for Feb. 4, 2006 at 5 p.m.
Congratulations
To our own Andrew Wodzianski, who in spite of being Fraser Gallery's art critics punching bag, had a terrific opening last night at the Rodger Lapelle Galleries in Philadelphia and whose last solo at our Georgetown gallery will travel to Old Dominion University later this year!
"Who Do You Love?"
Ian Jehle is moderating a series of art panels at DCAC and it's time for round three coming Sunday.
On Sunday he's moderating the third panel of the four part panel series "Who Do You Love?"
This one will focus on the figure. The scheduled panelists are: Lisa Bertnick, Tim Tate, Allison Miner, Michael O'Sullivan, and Erik Sandberg.
The event starts at 7:30 in the theater at DCAC.
Feb 5 - Part 3: Using the Figure - panelists: Lisa Bertnick, Tim Tate, Allison Miner, Michael O'Sullivan, and Erik Sandberg
Feb 12 - Part 4: Installation, Site-specific - panelists: Mary Coble, Jayme McLellan, Ira Tattelman
Talking points will include:
- "Who's your great grand daddy?" - artistic lineage: personal and public
- "Within these hallowed halls" - public museums as the apex of the art venue pyramid
- "Raphael is my copilot" - technique, refinement and presentation vis-a-vis the Old Masters
- "The boys and girls of spring" - the influence of major collectors (Phillips, Mellon and others)
- "What's not to love" - gaps in the DC artistic paean
- "And now ..." - where does individual practice and our local art scene intersect the contemporary art world?
Solution
Opening today, Saturday, February 4th, 2006 4-8 pm at the Graham Collection, is the opening reception of "Solution," a group exhibition of new paintings, all of which address a problem facing the black community and suggesting a solution.
The Graham Collection
3518 12th St., NE Washington, DC 20017
Tel: (202)832-9292
Friday, February 03, 2006
Cudlin on Interface
The Washington City Paper's Jeffry Cudlin reviews our current "Interface: Art & Technology" exhibition at Fraser Gallery Bethesda and really likes Kathryn Cornelius' video.
Read the review here.
WPA/C Auction Preview
Last night I went to the WPA/C's preview of the upcoming auction, fully planning then to go on to the opening at Nevin Kelly Gallery.
The preview was quite good, and a veritable who's who of DC art bloggers, power collectors, artists and even a Corcoran curator or two.
I made the mistake of arriving at the preview on a completely empty stomach, as I had been working all day and forgot to eat.
"I'll grub at the preview," I thought to myself as I headed to the Corcoran.
So I get there a little early, get to walk around the entire auction set-up, nicely displayed on the second floor of the Corcoran. The works were selected by:
- Philip Brookman, Senior Curator of Photography and Media Arts, Corcoran Gallery of Art.
- Kendall Buster, Artist and Associate Professor, Virginia Commonwealth University, Richmond , VA.
- Howie Chen, Branch Manager, Whitney Museum of American Art at Altria and Independent Curator, New York , NY.
- Jean Efron,Principal, Jean Efron Art Consultants, L.L.C., Washington, DC.
- Ashley Kistler, Curator, Visual Arts Center of Richmond, Richmond, VA.
- Adolfo V. Nodal, Arts Impresario (currently Project General Manager of Not A Cornfield Project), Los Angeles, CA.
- Sally Troyer, Former Gallerist, Independent Curator, Art Consultant, Washington, DC
I then went down to listen to the curator's talk, and at the risk of sounding disrepectful, made the huge mistake of sitting on the very front of the auditorium. I say this because I thought that it would be a matter of 30 minutes or so, but by the time that it was over, it had consumed an hour and fifteen minutes, and I was squirming and struggling to keep my stomach from growling too loudly (at least I didn't fall asleep and started snoring, as did some poor bastard above me).
The talk started at 6:30PM, and it was interesting and informative. Present were Effron, Buster and Brookman, and essentially these three highly talented and creative people discussed how (with some rare exceptions) they selected work by talented, creative artists that (a) they had known for years, (b) taught at the Corcoran, (c) taught at VCU or (d) shared a studio with them.
I particularly enjoyed the presentation by the tiny Kendall Buster, who brought a refreshing group of Richmonders to the auction, including some of my favorite pieces in the auction by some of those amazing young artists coming out of VCU's sculture program.
And so I get upstairs around 8PM, to find that most everyone else had skipped the lecture and had done a locust number on most of the good food that the Corcoran always puts out.
So I grab a beer on an empty stomach (bad idea) and munch on some asparagus tips that are left over (is it just me, or are asparagus way overrated as food?), and luckily there's still plenty of nice fresh fruit, and some cheese, but obviously the good stuff has come and gone... sigh.
Back to the artwork and a little bit of chatting with super generous Ubercollector Fred Ognibene and artists Tim Tate, Margaret Boozer and many others. And a few more rounds to look at the artwork. By the time that I got done, it was too late to make it to the Nevin Kelly opening (sorry Nevin - owe you an opening visit).
First of all let me re-affirm that this auction is a terrific opportunity for collectors not only to acquire art by some very talented artists, but also to contribute to the well being of our leading artists' organizations: the WPA/C. Furthermore, under Kim Ward's exceptional leadership, this organization is not only back on track, but also ablaze with activity and enthusiasm.
Here are my picks for the best in this auction in no particular order:
Noelle Tan. Easily the best photograph in the auction belongs to this talented artist, and at a $600 starting bid, it should go early!
Ledelle Moe. This is one of a set of eight or nine sculpted heads exhibited together as one piece under the title "Congregation," by this artist. I am told that she teaches at MICA and has a studio in DC. I've never seen her work before, but I quite liked what I saw here, and I think that she will be one of the "finds" of this auction. She also appears to have an exhibition currently at GMU.
Luis Camejo. This monochromatic painting by this Cuban artist boasts of action and energy, and it reminds me of one of those old illustrations for 19th century pre-photography newspapers. A good addition for collectors of Cuban art.
Michael Fitts. An amazing master of fooling the eye, Fitts works on discarded metal to create amazing oil paintings within that genre. We represent him, and his work has been selling briskly, so this piece will probably go early and sell high.
Susan Jamison. This talented and fair artist is having one terrific run! Whoever bought her painting at "Seven" got a terrific steal. Since then Jamison (now represented by Irvine) has sold out at Scope Miami and has a waiting list for her artwork!
The auction is at the Corcoran on Saturday, February 11, 2006, and to attend please print out and return the RSVP card here.
See ya there!
Thursday, February 02, 2006
Trials, Tribulations and Successes of a Gallerist
John Pancake, who is the Arts Editor at the Washington Post, once told me that he felt that running an art gallery was a heroic act.
I don't know about that, but running an independent, commercial fine arts gallery certainly takes a lot of commitment, truckloads of patience, an understanding of what running a business really means (while hopefully contributing to many different understandings of what a cultural discourse truly represents), an ability to share both in the triumph and failure of artists, an immense poker face when telling an artist who has just been destroyed in a review: "Don't worry, a bad review is better than no review at all," endless gritting of teeth from refraining in choking to death the next person (who's never run a gallery) who insists on giving you nonsensical advice on how to run a gallery, and the great sense of relief that floods in when one of your artists does well and succeeds.
A few days ago, as I was driving home after meeting with our accountant and reviewing the year and preparing for 2006, a few things popped into my head about some of the trials and tribulations and successes since we opened the first Fraser Gallery in 1996 in Georgetown.
First, this popped into my head:
Now is the winter of our discontentSo I shook my head to clear Will out of it and then recalled...
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums chang'd to merry meetings,
Our dreadful marches to delightful measures.
Grim-visag'd war hath smooth'd his wrinkled front;
And now,--instead of mounting barbed steeds
To fright the souls of fearful adversaries,--
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
- The know-it-all art hanger-on who walked into our first gallery in 1996, looked around and said: "I give you six months."
- Our second show ever, by a brilliantly talented printmaker named Grant Silverstein. We sold dozens and dozens of etchings and thought to ourselves: "WOW, this gallery business is going to be a piece of cake!"
- A huge article in the Washington Post announcing the opening of our Georgetown gallery. We then thought to ourselves: "WOW, it's great getting all this newspaper coverage!"
- How we managed to survive one long summer in 1997 without a single sale! Thank God for our financial backers: Mrs. Visa and Mr. Mastercard!
- How, every year since we opened in 1996, has seen a rise in sales and 2005 was our best year ever.
- The time that a couple came into the Bethesda gallery, he complaining of the price of an omelette at the Original Pancake House, and then he buying out the entire exhibition!
- The artist who complained because we were selling too much of the artist's work.
- The photographer who didn't want to exhibit his work because his photograph didn't sell immediately in a previous group show.
- The young man, who while looking at black and white infrared photographs of Scotland actually asked if everything in Scotland was really black and white.
- The hundreds of people through the years who stand at the front of the door and ask how much does it cost to come in.
- The photographer who shipped a massive photograph, framed under glass in a flimsy cardboard box without any protection and then almost had convulsions when informed that his work had arrived nearly demolished.
- The painter who shipped his small painting is a massive wooden crate meriting inclusion in the Fort Knox Hall of Fame, and paid more for shipping than the painting's price.
- The joy and pride caused by the first time that a museum acquired one of our artists' works.
- The guy who knocked a framed piece down, broke the glass in the fall, and then said: "It was broken before it fell."
- The afternoon before that night's opening when the entire ceiling in the gallery space collapsed because the air conditioning unit's drain pan had been installed backwards. Somehow the entire ceiling was rebuilt in a couple of hours and the opening took place without any problems.
- The time that it rained so hard in Georgetown that the Canal Square flooded and there was a foot of water in each gallery and we ran in and out to rescue the artwork; all the while electric wiring was underwater and hot.
- The time that we arrived at the new gallery in Bethesda to find the new $15,000 wooden floor completely flooded by rainwater.
- The time, after the foundation leaks had been fixed, and a new wooden floor installed to replace the damaged one, when we arrived at the same gallery to find the new floor flooded again from a new hole in the foundation.
- The time that the gallery flooded a third and fourth time from (a) the wrong filter for the A/C unit or (b) leak in the roof.
- The many times that we thanked God because in all these floods not a single piece of artwork was damaged.
- The famous multimillionare who (after attempting to haggle for a photograph selling for $300), said: "If I have this delivered to Great Falls, can I save on the sales tax?"
- The California collector who bought an $11,000 painting on the Internet, sight unseen.
- The three different curators from a museum out West, who flew on three different occasions to see an artist's show, and were gagga over a particular sculpture (priced at $2500) and then, after spending God knows how much money on flights and per diem, asked that it be donated to the museum, as they were short on acquisition funds.
- The art critic who made 61 cell phone calls over a 24 hour period to ask (and re-ask) some very basic questions which could have been answered by reading the press release, and killed my cell phone minutes allowance for that month in one day.
- The many people and writers and critics who made appointments on Sundays and Mondays or during odd hours and then never show up.
- The lawyer from New York who keeps calling trying to find certain gallerists no longer in business who have ripped off his clients years and years ago.
- The poor artist(s) who always show up at a crowded opening and want you to look at his or her portfolio.
- The super rich artist-wanna-be who always shows up at a crowded opening, wants you to look at his or her photographs of an African safari and asks: "What does one have to do to sell stuff in this store?"
- The delight in the face and eyes of an art student making his or her first gallery sale ever.
- The first time that we got a review in a national art magazine.
- The artist who planned her American debut for an entire year and then wasn't allowed to travel to the US for her opening, which sold out before the show opened.
- The time that the man hole cover blew up in Georgetown in front of the gallery, starting an underground fire, closing the neighborhood down and ruining the opening.
- The second time that another man hole cover blew up in Georgetown in front of the gallery, starting an underground fire, closing the neighborhood down and ruining another opening.
- The time that an electrical power outage shot down all of Georgetown and ruined our Frida Kahlo exhibition's opening.
- The first time that a show sold out before it actually opened up to the public.
- The people who ask every once in a while: "Does anyone actually, ever buy art?" And the many times that we actually ponder the same question.
- The time that the really expensive magazine ad had the wrong opening date.
- The local museum curator who never comes down to DC galleries, but who acquired one of our artist's works while it was on loan to another gallery in another city.
- The first time that a museum asked to borrow work for an exhibition.
- The collector who said on the phone: "Just pick one of her paintings that you'd think I would like and put a dot on it."
- The first time that one of our artists received a review in the New York Times.
- The time that the city fathers of Washington, DC wanted to prohibit galleries from serving wine at the openings.
- The many times that someone offers us money to host their exhibition. And the many times that we then see that "artist" exhibiting that vanity exhibition in another gallery in town.
- The first time that a museum in another country acquired work by one of our artists.
- The first time that a museum asked for one of our exhibitions to travel to the museum.
- The rich "artist" who wanted us to exhibit her really ugly paintings; each one boasted to have over $60,000 of precious stones embedded into the thick, impasto paint.
- The grubs who come to the opening, look around the space (not at the art) and then ask: "Where's the food?"
- The time that Sotheby's asked us to become an Associate Dealer, and how we managed to create over 800 secondary art market sales for emerging DC area artists.
- The time that a collector wanted to buy a nude painting of a man, but wanted the artist to paint over the genitalia.
- The amazing number of times that it either snows or rains on opening night.
- The time that a furor was created in Bethesda over our exhibition of huge paintings of very large, nude women.
- The first time that one of our exhibitions was featured on television.
- The first time that we got a review in an international art magazine.
- The time that I handed back a photograph to the photographer who wanted me to look at it. He/she dropped it a few minutes later, broke the glass and scratched the photo and then wanted to have our insurance pay for it.
- The dozens and dozens of "collectors" from Nigeria who email us everyday and who want to buy everything in our "art store" if only we send them our banking details so that they can wire the payments to it.
- How, after nearly ten years as a gallerist, there are still art critics or writers, who apparently write about DC art, DC artists and DC galleries, and yet I've never met and as far as I know have never set foot in our galleries.
- The many times that someone walks either into our Bethesda gallery or our Georgetown gallery and says: "I didn't know there were any galleries around here."
- The invited curator who "curated" a show of mostly his friends and colleagues.
- The other invited curator who put together one of the most amazing juried shows ever staged in our gallery.
- The still incredible fact that our website gets over a million hits a month, and every month it kills my bandwidth allotment.
Wednesday, February 01, 2006
Wilson Building as a DC Artists' Collection?
As I mentioned here, the DC Commission on the Arts and Humanities is currently accepting applications for the Wilson Building Public Art Collection.
The Wilson Building is located downtown at 1350 Pennsylvania Avenue, NW in our capital.
The historic building serves as the headquarters for the Mayor and City Council for the District of Columbia. The works purchased through this call for entries are specifically designated for permanent installation in the Wilson Building.
And this is a very big building, with some very art-friendly walls, is just waiting to be filled with artwork. Only DC, Virginia and Maryland artists are eligible, and I believe that DC residents have some priority.
And I really think that this collection stands a chance to become a very strong and significant opportunity to put together (in one place) a very good sampling of Washington, DC regional artists.
And (of course) this being a public art collection, it immediately leaves out all nudity and any remotely controversial subject - but that's not the Commission's fault, nor the curator's; it's just an unwritten rule in American public art.
Nonetheless I think that this opportunity is as good as any as they come because:
(a) There's no cost associated (entry fees, etc.)
(b) It's easy to enter (you can send slides or CD ROM)
(c) You have a month to prepare (deadline is Feb. 24, 2006)
(d) The curator (Sondra Arkin) is actually someone who has really deep roots in the DC art scene, and knows what makes it tick - artists, galleries, dealers, schools, etc.
No excuses!
And I sincerely hope that some of my fellow gallerists encourage some of their big name area artists (just as we have) to apply and submit to this call, and hopefully be included in the closest that we'll have in this area to a permanent DC artist exhibition.
Download the application here.
Art Bank
Update: The website has been updated and the entry forms are here.Even thought the DC Commission on the Arts and Humanities website does not say so, they are currently accepting entries for their Art Bank. The deadline is February 24, 2006.
I am told that independent curator Vivienne Lassman, a former gallerist (she was a partner in the Troyer-Fitzpatrick-Lassman Gallery, which was once located where Irvine Contemporary now is), and who also worked for the Commission in helping to select the artists for the Washington Convention Center, will be helping to select the works accepted into this round of Art Bank.
Call 202/724-5613 for an entry form or download a copy here.
Tuesday, January 31, 2006
Claire Watkins
The current "Interface" exhibition in our Bethesda gallery has really been drawing a diverse and constant flow of visitors, including several schools who have come in groups to see the show.
And Claire Watkins amazing magnetism-based kinetic sculptures have really been drawing the "oohs" and "aaahs" from nearly everyone. Watkins is a recent graduate of VCU's highly acclaimed postgraduate sculptural program, ranked number one in the nation (I am told).
To me, the interesting thing about this sculpture is the fact that it will never be the same once de-installed and re-installed in whatever collector's home it ends up in (it's still available for sale by the way). When the sculpture sells, Watkins will have to go to the collector's home and install the work in a chosen area.
I suspect this will be a placement chosen by both artist and buyer, and brings some interesting questions to the whole classification of the piece. For example, a smart thing for the collector to do, is the video the whole installation event, as I found it fascinating to see Watkins weave the installation of the sculpture in the gallery's corner space. It would be particularly interesting to see her re-create that, in a different space (someone's home) once the piece sells.
On the gallery’s main wall, her other three sculptural arrangements hang: two triptychs and a diptych. They are ink and acrylic etchings on a copper plate, floating away from the wall, projected from a plastic armature that hides a small motor. The hidden motor rotates a small magnet, and this magnet, in turn, causes pins and iron filings to dance and move on the surface of the etchings.
What does this mean? It means that these sculptures are never, ever quite the same at any given second; they're always evolving and changing and moving. One day the filings have climbed atop pins and radiate outwards; a few days later a lonely pin has drifted away from the pack, and so on.
Watkins, who now lives in New York City, is currently speaking with several New York galleries and I am sure that we will continue to hear great things about this talented young artist.
"Interface" runs through February 8, 2006.
Whippersnappers
Conner Contemporary Art is damned pleased to introduce the work of Fatima Hoang, Michael Magnan, Maki Maruyama, Annie Schap, Zach Storm and Matthew Sutton in Whippersnappers – an exhibition of young, bright, culturally astute artists who, in their opinion, rock.
There will be an opening night reception at Conner Contemporary Art on Friday, February 3rd from 6-8pm, and the show runs through March 11.
Opportunity for Artists
Deadline: February 15, 2006
Cows, Pandas, Elephants, Crabs, Apples, Mermaids, Testudos and now doors!
"Making an Entrance" offers an opportunity for artists to create artistic doors.
Details here and the prospectus here.
Bodypainters
Adrianne Mills and company had a load of fun painting some bodies last weekend at the Anne C. Fisher Gallery in Georgetown. See loads of images here.
By the way, the person getting painted is the very talented artist Michal Hunter.
There's still time to catch "Bodies of Work" at the gallery, and see some of Mills' intelligent photography on this sensual subject. The show runs through Feb. 11, 2006.
Gopnik on Kessman
A rare mini review by the WaPo's Chief Art Critic of a Washington, DC gallery show.
Read Gopnik's mini review of Dean Kessman at Conner here.
What Good Are the Arts?
Read this WaPo review of a recent book on the above subject. More on this later.
Society for the Arts in Healthcare
Provides grants and free technical assistance to local arts agencies partnered with health organizations to establish or enhance existing arts and healing programs.
Programs may range from artist residencies, exhibits, concerts and bed-side crafts activities in hospitals to artists working with visiting nurses, hospice and nursing homes.
For more information or application forms, contact:
Society for the Arts in Healthcare
2437 15th St. NW
Washington, D.C. 20009
Phone: (202) 299-9770
email: mail@TheSAH.org
Website: www.societyartshealthcare.org
College Art Association
The College Art Association assists artists financially in completion of MFA and Ph.D. programs. Grants of up to $5,000 are awarded to individual artists.
Deadline is ongoing. For information, contact:
The College Art Association
Fellowship Program
275 7th Ave.
New York, NY 10001
Phone: (212) 691-1051
Website: www.collegeart.org
Improv Everywhere
Mark Jenkins sent me this street performance link for Improv Everywhere. It's called "Suicide Jumper."
See it here.
Monday, January 30, 2006
Silverthorne on Dickson Carroll
Solarize This checks in with a review of Dickson Carroll at Addison Ripley.
Read the review here.
Goss on Fusebox's last show
Two Timing the Cosmos pops in with yet another insightful review of Fusebox's last show.
More please!
Read Heather's review here.
Update: Trip cancelled!Airborne today and heading to the Left Coast. A rather unplanned trip!And it bugs me that I'll miss the opening of what sounds like a very interesting exhibition opening this Thursday at Nevin Kelly Gallery.
Nevin Kelly Gallery will open an exhibition of works that gallery owner Nevin J. Kelly acquired in a recent trip to Poland. The show, which began its run on January 5, features works by five Polish artists who have been featured in past exhibitions, plus works by a recent graduate of the Warsaw Academy of Fine Arts who is new to the gallery. A mid-run reception will be held on Thursday, February 2, from 6 until 9 o’clock at the gallery’s exhibition space, 1517 U Street, NW in Washington.
Please go, and someone email me a review of the exhibition.
Opportunity for Artists
Deadline February 24, 2006
John A. Wilson Building Accepting Submissions for Art Collection. The DC Commission on the Arts and Humanities is currently accepting applications for the Wilson Building Public Art Collection. The Wilson Building is located downtown at 1350 Pennsylvania Avenue, NW.
The historic building serves as the headquarters for the Mayor and City Council for the District of Columbia. The works purchased through this call for entries are specifically designated for permanent installation in the Wilson Building.
Download the application here.
I have some thoughts and opinions on this terrific opportunity, so more on this call later.
It keeps coming
Bad news that is...
Slaithong C. Schmutzhart, who was an associate professor at the Corcoran College of Art and Design for 22 years before retiring in 2002, died of cancer Jan. 19 at her home in Washington.
Saturday, January 28, 2006
Ella Tulin
Bad news seldom comes alone.
Internationally renowned DC area sculptor (she lived in Bethesda) Ella Tulin died yesterday in Bethesda.
Our deepest sympathies to her family.
Friday, January 27, 2006
Ken Oda
I just found out that Ken Oda died on January 15, 2006, and this obituary in the WaPo is astonishing to me in its absolute lack of mention of Oda's massive contributions to the DC area arts scene through the publication of the Ken Oda Art Newsletter (KOAN), which for many years was the main documentation of what the Greater Washington area visual arts was all about.
You can add a personal note about Ken online in his WaPo obit here.
The Ken Oda Art Newsletter and later on the Ken Oda Art Newsletter ArtWOW website were for many years the strongest documentary voice of what was going on in the visual arts around here.
Ken Oda gathered a diverse group of writers, assigned reviews, interviews and article ideas to them, and then sent us around the Greater DC area to cover what was going on in our galleries and museums. He then assembled all of our reviews, cut and pasted a magazine together, had it printed and then hand delivered the magazine to nearly all galleries in the area as well as posted them to his many subscribers.
He was tireless in his zeal to expose to the public the great art scene that was and is the Greater DC area, and was one of the first voices around here to actually do something about the apathy of the mainstream media in covering our visual art scene. As an editor he was fair and sensitive to all points of view. Oda and I disagreed on nearly everything that dealt with contemporary art, and his tastes and mine (in art) were world's apart. Nonetheless, we shared many a glass of wine and many a beer discussing these differences, and his ability to always keep an open mind, and refrain from pushing his own point of view to the exclusion of others was one of his greatest gifts as an editor, art collector extraordinaire and friend.
At one point Ken burned out from the publishing demands and the magazine ended; I am told that a complete set of the KOAN Art Newsletter is now part of the archives of the Library of Congress, as a reference tool for historians and people who want to know what was going on on our area's galleries and museums in the 1990s; to a detail and granularity that none of the newspapers ever covered (and it has gotten significantly worse since then - back in those days both the "Galleries" column and the "Arts Beat" column were weekly columns and both of them focused on the visual arts).
And then Ken became one of the first to take his crusade to expose the DC art scene to the world on the Internet, and somewhere in the late 90s he started ArtWOW, with reviews, interviews and a message board, which for a long time was one of the only online voices to discuss and talk about DC area art.
Ken's illness took us all by surprise, and a few weeks ago most of the writers and friends who knew Ken Oda gathered to pay an homage to Oda. I recall that he looked frail, but was happy and loquacious as ever. In retrospect I now realize that Ken was probably hiding not only a lot of pain, but also making all of us feel better and secure about his presence.
Ken Oda will be missed, but his footprint and his legacy on the Greater Washington area art scene lives in the minds and hearts and resumes and bibliographies of the thousands of artists whose shows were reviewed in KOAN over the years, as well as on the silent thanks of future historians who will have access to the past issues of his newsletter to find out what the visual arts in Washington, DC were all about in the 1990s.
Farewell my friend, and thank you!
Update: In defense of the WaPo's short notice about Ken, the WaPo tells me that "although it falls under 'obituaries' on the site, it's technically what we call a "death notice" in the paper (much shorter, with bare-bones biographical info -- it doesn't even have his age!!). If a true, bylined obituary had been written, I'm sure his contributions to the art scene would have been mentioned."
Create an e-annoyance: go to jail
For the SOB who has recently kidnapped my email address and is now sending mass emails out to everyone (including me): annoying someone via the Internet is now a federal crime.
It's no joke. Last January 5, 2006, President Bush signed into law a new prohibition on posting annoying Web messages or sending annoying e-mail messages without disclosing your true identity.
So starting January 5, 2006, it's apparently actually illegal to flame someone under a false name in a blog's comments or any other place.
"The use of the word 'annoy' is particularly problematic," says Marv Johnson, legislative counsel for the American Civil Liberties Union. "What's annoying to one person may not be annoying to someone else."
For some bastard to kidnap my email address and then send out mass emailings is annoying not only to me but also to everyone who gets it as if from me. I'm gonna find you buddy, and then I'm gonna take the new law into my own hands and kick your ass.
Read the story here.
Two New Caravaggios Discovered!
I just finished reading Jonathan Harr's superb The Lost Painting.
The book is the story, told by Harr masterfully as an art detective story of sorts, of the discovery of Caravaggio's The Taking of the Christ in a Jesuit residence in Ireland.
I strongly recommend it if:
(a) you like a detective story,
(b) want to learn a little about Caravaggio's life and
(c) want to learn a lot about restoring a painting.
Also note how even great masters can make an error when dealing with the figure. Look at the painting and then observe how the arm of Judas, as it hugs Christ and is partially covered by the metal-clad arm of the Roman guard, is way too short as the foreshortening has been completely screwed up by Caravaggio. Maybe that's why he's looking so intently at the scene (Caravaggio is the man holding the light in the extreme right of the painting).
But now (thanks AJ), the BBC tells us that: "Art historians have spoken of their shock and delight after two paintings discovered in a French church were found to be by old master Caravaggio. Pilgrimage of Our Lord to Emmaus and Saint Thomas Putting his Finger on Christ's Wound have hung in the town of Loches for nearly two centuries."
Read the story here.
More secrets
Looks like PostSecret is starting to break out nationally.
There is a piece on it in Newsweek magazine this week and a crew from ABC World New Tonight is today taping a segment that I think will be airing tonight in the next few days.
Yep... that's me
Parsons on Erickson and Pavlovic
Adrian Parsons takes a good look at the closing shows for Fusebox and Fraser Georgetown.
Read the reviews here.
Thursday, January 26, 2006
Washington Sculptors Group
The Washington Sculptors Group is one of the most active and talent-loaded artists' organizations in our area.
I have been hearing good things and need to take a trip to Pepco’s Edison Gallery to see the Washington Sculptors Group and WPA/C's Sculpture Unbound Show.
But before I forget, I also wanted to mention (so that everyone can get this on their schedules) about Sculpture Now: 2006, an exhibition of the Washington Sculptors Group, juried by by my good friend and ubercurator Sarah Tanguy.
The exhibition opens on Feb. 6 and runs through May 5, 2006, but the opening eception is Thursday February 16, 2006 from 6:00-8:30 pm, with a juror's talk at 7:30 pm, on that same night. The exhibit will be at:
Washington Square
1050 Connecticut Avenue NW
(at "L" Street)
Washington, DC 20036
(Red line to Farragut North)
8:30am to 9:00pm, Monday through Saturday
Tanguy said about this exhibit:
"...the 42 selected works offer insights into the Washington Sculptors Group’s current interests as well as a spectrum of approaches, materials, and themes. From figurative stone studies, mixed media installations, to abstract steel compositions, the exhibition explores science and math, and to a larger extent nature, the self and culture."
Wanna go to an opening tomorrow?
The Arlington Arts Center's "Deja Vu: A New View" opens tomorrow with a reception for all 81 artists from 6-9PM.
The exhibition is a "robust exhibition of artworks created in the last three years by 81 artists who exhibited at the Arlington Arts Center before its expansion and renovation. This large and wide-ranging invitational show brings together works in sculpture, painting, drawing, collage, fine craft, photographs, prints, installation and video, offering a unique overview of the new works of many artists who are now familiar to the public. Some of the artists included are Foon Sham, Rebecca Kamen, Pat Goslee, Patrick Craig, Erik Sandberg, and Marc Robarge."
The exhibition runs through March 18, 2006.
Wednesday, January 25, 2006
Millennium Arts Salon
One of the really good benefits in living in such a vibrant art scene as the one that surrounds our Greater Washington, DC area is the astounding number of art venues that keep adding great positive things to our cultural tapestry.
One such good venue, and one that is new to me, is the Millennium Arts Salon, which is directed by Juanita and Mel Hardy. Their vision states that:
Millennium Arts Salon supports artistic expression and advances cultural literacy through its art programming, which includes exhibitions, gallery talks, and interviews of visual and performing artists, writers, art critics, and other prominent individuals in the arts.See their 2006 Calendar of Events here.
Back from NPR
Just back from doing about 45 minutes on the Kojo Nnamdi Show discussing the Greater Washington area visual arts and artists along with the City Paper's art critic Jeffry Cudlin and the Katzen's Jack Rassmussen.
If you missed the show, you can listen to it on WAMU 88.5 FM by clickling this link for the first part and the end of the show here.
New gallery opening soon on U Street
Project 4 Gallery will be opening soon at 903 U Street NW Washington DC 20001 tel: 202/232-4340 and website here.
The grand opening reception is February 25, 2006 from 6-8:30PM featuring the works of Lori Grinker.
Welcome!
Silverthorne on Interface
Alexandra Silverthorne, over at Solarize This, reviews our current show at Fraser Bethesda; Interface: Art & Technology.
Read the review here.
Tuesday, January 24, 2006
He Who Owns the Walls (can censor it?)
A couple of weeks ago I told you that the Mid City Artists were holding their Winter Art Exhibition at the Results Gallery at Results the Gym Capitol Hill.
And Anne Marchand attended the opening together with artist Angela White and were surprised to discover that (as Marchand reports) they were:"Surprised when two of Angela's oils on canvas weren't hung by the management because a certain part of the male anatomy was visible. A classical nude by Regina Miele was also NOT hung by the management."
Today in the WaPo's Reliable Source column, Amy Artsinger and Rozanne Roberts pick up on the story first reported by Marchand in her Blog.
The WaPo's Reliable Source reports that:
...it's in the club policy: "Because of our family-friendly environment, we don't hang artwork that adults wouldn't feel comfortable discussing with their children," said Sarah French , director of operations.Apparently that also applies to paintings and drawings.
White's a "great artist," said French, but crossed the "no nudity" line: "You've got to be clothed outside the locker area."
See Adrian Parsons' post on this same subject here.
Monday, January 23, 2006
On the air on Wednesday
Later this week (on Wednesday, January 25, 2006) I'll be on the Kojo Nmandi Show discussing the Greater Washington area visual arts and artists as I usually do once a quarter or so. Tune in to WAMU 88.5 FM around 12 PM (noon).
If you have any questions or art issues, you can call Kojo during the show at (800) 433-8850 or you can email me questions to kojo@wamu.org.
After the show I will post here all the websites and information that we discuss on the air.
Bloggies
Congrats to Frank Warren's PostSecret blog, which has been nominated in a record five categories for the 2006 Bloggies awards, including Best American Weblog and Weblog of the Year!
See the finalists and cast your votes here.
Kirkland on PostSecret and Campello
Thinking About Art has a review of the amazing PostSecret phenomenom and also of my recent exhibition.
Read both of them here.
Sunday, January 22, 2006
New gallery
There's a new gallery in town. Nowuno Gallery is located at 403 Constitution Avenue, NE in DC and can be reached at (202) 546-9071 and website here.
Nowuno represents the work of Henrik Sundqvist, Amanda Kates, Laurence King, Aaron Brophy, T.H. Gomillion, Eileen T. Wold, Robert Lindsay, Heather Levy, Jay Rees, James Green, Vèrta Reyes, and Rebecca Tiffany.
Welcome!
By the way Heather Levy is currently having a solo show at Gallery Frame Avenue, located at 4919 Cordell Avenue, in Bethesda (through Feb. 3, 2006). Read Alexandra Silverthorne's review of that show here.
Cosmos on Erickson
The fair Heather, from Two Timing the Cosmos, has a really eloquent review of the current Bruce Erickson exhibition at our Fraser Gallery Georgetown farewell show.
Read it here.
By the way, Heather is a pretty good photographer on her own right. See her work here.
Yuan Fu and the Katzen opening
So last night I went to the multi-opening reception at the Katzen Arts Center (I love that building by the way! And about time that we have a place in the DC area where one can actually park for an opening - for free - in less than a minute). And it was packed to the rafters with everyone and anyone in the DC area remotely interested in DC visual arts.
I saw and talked to most DC gallery owners, collectors, bloggers and artists (I skipped the grubs), and while talking to the talented Mary Coble (represented locally by Conner Contemporary and who is soon heading to Costa Rica on vacation and has learned that if you spell S-O-C-K-S, it literally means (in Spanish) "That's what it is."), I discovered that she's a vegetarian and thus I told her about the recent epiphany that I had while visiting Yuan Fu Restaurant in Rockville.
I will have to return to the Katzen and spend more time looking at the great exhibitions currently on display there. More on that later.
But, as promised to Mary, more on Yuan Fu Restaurant now.
I am not, have never been, and will never be a vegetarian. I respect people who are, but I am not one of them/you.
So it was with somewhat of a slight trepidation that I allowed myself to be invited into Yuan Fu a few days ago.
It was amazing Chinese food!
I had a culinary epiphany!
Let me tell you about it: To start, there's a little explanation about the food on the cover of their menus. It almost apologizes because all the dishes are labeled as if they were actually chicken, pork, seafood, beef, etc. and it reassures the public that it is all 100% vegetarian (they use gluten, tofu, vegetables and tofu skin for their dishes) and no MSG is used. They also discuss that they use less oil that the average Chinese restaurant, and there is even a special Non-Fat section of the menu.
And then you open the menu, and see the photos of the dishes; and they all look like the "real thing."
In other words, the kitchen artists at Yuan Fu actually take the vegetarian ingridents and shape and mold and color them to look (and taste) just like the real thing; it's an amazing feat of culinary trompe l'oeil and trompe la bouche at the same time!
I first ordered an assorted plate of appetizers, and my eyes couldn't believe that I was not eating duck, sausages, spring rolls, etc. I also ordered the roasted duck and cilantro rolls (which came with plum sauce... yummy) and they were delicious as well!
Then for my main course, we ordered Moshu Pork and Mahi. The pork dish looked and tasted like pork, and that nicely crisped skin on the Mahi was actually seaweed!
And the staff was great! When I actually ordered in Chinese, I thought the entire kitchen staff was going to come out and chat. The Chinese lady who owns the place came out, and then started talking to me in Spanish, and we began to discuss the significant number of Cuban people of Chinese ancestry, and how Chinese Cuban food has evolved into an interesting branch of culinary rarity.
Anyway: I loved this place and will return many times. Go visit them often.
Yuan Fu is located at 798 Rockville Pike, in Rockville and it is open Sunday through Thursday, 11 a.m. to 9:30 p.m. and Friday and Saturday from 11 a.m. to 10:30 p.m. A lunch special is available from opening to 1:30 p.m. Telephone: (301) 762-5937 or (301) 762-5938.
Saturday, January 21, 2006
Congratulations
To Roanoke, Virginia- based artist Susan Jamison, who has has joined Irvine Contemporary.
Jamison's work came to the attention of Martin Irvine through the Seven exhibition last year. Her striking and provocative egg tempera portraits of women and large panel paintings have received extraordinary acclaim. The selection of her works that Irvine featured at Scope/Miami sold out in a few hours.
Susan's new body of work, including her egg tempera panel paintings and new drawings, will be on view in a solo show at Irvine in May.
Dawson on Interface
The WaPo's Jessica Dawson reviews Interface, currenty on exhibition at our Bethesda gallery.
Friday, January 20, 2006
Typical...
One of the things that I could always count after nine years in Georgetown is the fact that I would get 2-3 parking tickets a year.
And tonight I got the farewell parking ticket from the highly efficient Ubermetermaid Storm Troopers crack squad of Georgetown parking enforcers. It brought back memories of the day that parking meters went from expiring at 6:30PM to expiring at 10PM (no notice given) and the orgy of tickets that followed; or the two or three times that a massive truck would take a spot and a half of the space on 31st Street, just before the Canal, but I would get the ticket because my van's rear end would then stick out a foot past the "no parking" sign.
But tonight, when I arrived at the gallery, I found the primo Doris Day parking spot (so named because I always noticed how in the old Doris Day movies everyone always seems to find a parking spot in New York City or wherever the movie takes place, right in front of where they are going). And so I park, and feed the meter six quarters before I notice that it is blinking "fail."
So I tape a piece of paper over the meter, explaining what the issue is, and then proceed to unload the van. In between the time that it takes to carry a few bottles of wine from 31st Street to the Canal Square, on a return trip I find a shiny new ticket from Officer Johnson, and the note gone.
A ticket for $25 samolians as a farewell gift from Georgetown to me.
Metcalfe on Hopscotch
The City Paper's John Metcalfe was present at the Interface opening last Friday and he observed the Hopscotch performance by David Page and has written an excellent report here.
Thursday, January 19, 2006
Opportunity for Artists
Deadline: February 24, 2006
Wilson Building Public Art Program Call for Artists: The DC Commission on the Arts and Humanities is currently accepting applications for the John A. Wilson Building Public Art Program. The works purchased through this call for artists are specifically designated for permanent installation in the Wilson Building.
For more information and an application, please visit the Commission's website to download the Call for Artists and application, or call 202-724-5613.
And then there was one...
The final exhibit at the Fraser Gallery Georgetown opens tomorrow, Friday January 20, 2006 with an opening reception (from 6-9PM) for Bruce Erickson, winner of the 2005 Georgetown International Fine Arts Competition. The exhibition closes on February 15, 2006.
Since 1996 we have been working hard to deliver the best in contemporary realism, fine art photography and narrative glass sculpture in the region. Additionally, the galleries have become one of the the premier exhibit spaces for contemporary Cuban and European artists.
"The location is only one factor in the success or failure of a gallery. Our gallery is now a destination for collectors because they appreciate our knowledge of contemporary artists working in this region and most importantly: we have a realistic understanding of the art market here. The relationships that we have with both the artists that we represent and our collectors is something that can’t be developed overnight... it takes time, honesty, integrity and a lot of hard work," said Catriona Fraser.
The Fraser Gallery in Georgetown will close at the end of the February 2006 exhibition, which appropriately enough brings the Washington, DC debut of Pennsylvania artist Bruce Erikson, winner of the Eight Annual Georgetown International Fine Arts Competition, juried and selected by Jack Rassmussen, Curator and Director, Katzen Art Center at American University.
2005 has been the galleries’ best year ever for sales, as well as a record number of museum acquisitions and the highest number of published reviews about our exhibitions ever both in the U.S. and abroad.
As our region continues to grow and expand with more fine art galleries opening every year, we feel confident that both our artists and collectors will continue to benefit from our commitment to the visual arts in this region as we focus our energies into one space in Bethesda.
Catriona and Lennox
DeBerardinis
I've been hearing good things and hope to drop by soon to see "Pictures of Nothing: Abstraction," new paintings by Rosetta DeBerardinis on exhibit through Feb. 28 at Ozmosis Gallery, 7908 Woodmont Ave., in Bethesda. Gallery hours: Tues. - Sat. 12:00 - 6:00 PM and by appointment. For more information go to www.ozmosisgallery.com or call 301-664-9662
Wednesday, January 18, 2006
Wolov on Interface
Nekkid with a Camera checks in with a review of Interface at our Bethesda gallery.
Read that review here.
Congratulations
Jiha Moon has a wonderful review of her recent show at the Curator's Office by George Howell in the Jan/Feb issue of Art Papers. Unfortunately, it's not online.
If Howell emails me a copy of the review, I'll post it here.
Tapedude gives DC streets a sugar rush
Mark Jenkins has been at it again.
This time he has transformed the parking meters around the Department of Energy into huge lollipops.
See them all here.
"Who Do You Love?"
Ian Jehle is moderating a series of art panels at DCAC and it's time for round two this coming Sunday.
On Sunday he's moderating the second panel of the four part panel series "Who Do You Love?" This one will focus on abstraction. The scheduled panelists are: Jonathan Bucci, Isabel Manalo, Jiha Moon, Jack Rasmussen & Robin Rose.
The event starts at 7:30 in the theater at DCAC. Thanks to everyone you made it to panel #1 and to the first group of panelists: Richard Chartier, Kathryn Cornelius, Jeffry Cudlin, Brandon Morse and Jefferson Pinder.
7:30 pm, DCAC, 2438 18th Street NW, Washington DC 20009 - (202) 462-7833
Jan 22 - Part 2: Abstraction, not Abstraction - panelists: Jonathan Bucci, Isabel Manalo, Jiha Moon, Jack Rasmussen, Robin Rose
Feb 5 - Part 3: Using the Figure - panelists: Lisa Bertnick, Nekisha Durrett, Allison Miner, Michael O'Sullivan, Erik Sandberg
Feb 12 - Part 4: Installation, Site-specific - panelists: Mary Coble, Jayme McLellan, Ira Tattelman
Talking points will include:
- "Who's your great grand daddy?" - artistic lineage: personal and public
- "Within these hallowed halls" - public museums as the apex of the art venue pyramid
- "Raphael is my copilot" - technique, refinement and presentation vis-a-vis the Old Masters
- "The boys and girls of spring" - the influence of major collectors (Phillips, Mellon and others)
- "What's not to love" - gaps in the DC artistic paean
- "And now ..." - where does individual practice and our local art scene intersect the contemporary art world?
Scheduled panelists include: Lisa Bertnick, Jonathan Bucci, Richard Chartier, Mary Coble, Kathryn Cornelius, Jeffry Cudlin, Nekisha Durrett, Isabel Manalo, Jayme McLellan, Allison Miner, Jiha Moon, Brandon Morse, Michael O'Sullivan, Jefferson Pinder, Jack Rasmussen, Robin Rose, Erik Sandberg & Ira Tattelman.
Tuesday, January 17, 2006
Campello Comes Down Tomorrow
My current exhibition at the Fraser Georgetown space comes down tomorrow.
Below is the review of the show published in the last issue of the Georgetowner newspaper by John Blee:
The Obsessions and Duende of Lenny Campello
F. Lennox (Lenny) Campello, one of the lynchpins of the DC art scene, is having a show in Georgetown at the Fraser Gallery (1054 31st St. NW, Tues. - Fri. Noon - 3pm, Sat. Noon -6pm).
Campello renders mythic scenes with mystery. He has complete mastery of his medium and works on a ground that seems to come from deep dreaming.
Campello writes on his dcartnews.blogspot.com, the premiere art blog of DC, "For some reason snowy days seem to inspire me to get down and draw. And I was up and early this morning and finished (a) somewhat silly drawing."
The drawing, "Woman on the Moon About to be Swept Off Her Feet by a Flying Bald Man," has a relation to Goya's darkness, or duende. Unlike Goya, Campello does not offer a social or political message. Like Goya, he creates enigmatic juxtapositions of figures or figure and space (as in "Another Obsessive Jackie Kennedy Portrait"), hinting at something disquieting.
Campello states "Myth is one of the driving forces in my work! I love it when someone discovers a bit of legend, or history or religion through one of my works."
Being a gladiator at heart, Lenny takes on some of the major myths from Marilyn to John the Baptist to Frida Kahlo to Saint Sebastian. He is fearless.
His Frida Kahlo is an homage to the Mexican artist and icon. The work presents a calm Kahlo, but in its off-placement on the page there is something that makes it not quite rest-in-peace. It is Campello's uneasy atmosphere of dream that is as much the subject of the work as the stormy Kahlo herself. Campello has been drawing Kahlo since 1977. He has also done hundreds of portraits of Marilyn and Che.
In his "Saint Sebastian" it is the flight of the arrows that is as much the drama as the piercing of the flesh of the poor saint. The enclosure and evocation of the space in the drawing is again the subject as much as the arrow's fight and their unfortunate trajectory.
Campello's drawings from the female nude, including "An Unmarried Woman" and "Woman Thinking of the Sun" present a different aspect of this artist. Here there is a quiet and devout sensuality: a worshipper at the source. (through January 18, 2006)
New blog
Adrian Parsons has a new arts blog: In the City for Art and a Job.
Visit here.
And already Adrian has gone dumpster-diving and come up with some good art!
Unpleasant memory
DC artist Christopher Goodwin is auctioning off a very unplesant memory/art on Ebay.
Bid on it here.
Here we go again...
Bailey is having fits (funny fits anyway) over Blake's plan for the Smithsonian, while Kirkland and his readers are discussing Gopnik's use of new adjectives to describe the status of artists.
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